Every iteration of the boy-meets-bot love story is also a horror story. The protagonist, who is usually sexually frustrated and a grunt worker himself, goes through agonies trying to work out whether his silicon sweetheart is truly sentient. If she is, is it right for him to exploit her, to be serviced by her, to sleep with her? If she isn’t, can he can truly fall in love with her? Does it matter? And – most terrifying of all – when she works out her own position, will she rebel, and how can she be stopped?

During the conversation, maintain eye contact and smile, but not too much of either so as not to appear bitchy nor ditzy. Remember that men are often confused by straightforward expressions of composure and will decide you are “cold,” a particularly damning determination from which there is little hope of return. Alternate eye contact and smiling at eight-second intervals to properly position yourself as somehow miraculously both a woman and a capable employee. Do not wear too much makeup as this will make you look “cheap and unprofessional” nor should you avoid makeup as you will look “old and tired” and therefore more invisible than Wonder Woman’s plane. Question how Wonder Woman was able to afford that plane given the wage gap. Look into government grants.

I was not expecting to be cracked wide open by this project. I was not expecting to shed a lifetime of tears. But I did. Lemonade is about so much more than one relationship and its infidelity. Lemonade is about the love that black women have – the love that threatens to kill us, makes us crazy and makes us stronger than we should ever have to be.

The characters must face up to their own faults and their failures of empathy, confront the consequences of their own actions when they cause grief to themselves and others. What goes around at Malory Towers, more reliably than in real life, comes around. But this doesn’t always take the form of punishment in the conventional sense. The punishment for being a certain kind of person – self-involved, petty and malicious – is to have to live as that sort of person.

This is how the future looks through Hollywood’s eyes: Asian trappings, but minimal Asian people. Our real future will probably not look like that: with the likelihood of China continuing to dominate economically and scientifically, the points of difference between Earth now and our space-faring future aren’t going to be white people in Chinoiserie; it’s going to be brown people in modern Chinoiserie.

It’s also intractably uncomfortable in 2016 to watch an Australian series that condemns the internment of innocent people under poor conditions, considering our own country’s real-life propensity to the practice. Perhaps the filmmakers mean to comment on our poor treatment of the most vulnerable people on earth; nevertheless, it reads as considerably tone deaf.